This phase was a substantial expansion on the ideas seeded through Phase 2. It involved focused compositional research on the vibration sensation experience, asking questions about how sensation is perceived.
I broadened the range of materials placed on the table to generate sound, using large-scale building materials.
I developed a framework for tactile/acoustic composition, recognising challenges in using the table as both a device for creating sound, and a directly engaged with vibration instrument.
My first steps during this phase were furthering my experiments with deep bass guitar drones, and tactile transducer feedback. The approach here focused centrally on the sensation of vibration, rather than sound generated through the table.
Recognising that there were inevitably some audible sounds generated by the table (even when used as a primarily sensation instrument), I began to develop ambiences to work with these sounds to ‘complete’ the experience, for the intention of a vibro-acoustic installation.
I then started to broaden my understanding of the making of vibration sounds through the table. I used various building materials such as windowpanes and sheet metal, to generate a new palette of sounds to work with the sensation experience. The materials also offered new approaches to playability and expression when making vibration sound.
I developed a software framework for vibro-acoustic composition. This enabled me to approach the making of the vibration and audible elements to work together as a whole, when installed together in a space.
A first complete composition gutterglass (phase 3.4) embodied this research and helped me understand how sensation, when combined with sound, affects auditory perception.
Gutterglass - Play above or click to open in new window
Please note that dynamic range and listening level vary from other audio samples provided in recent pages. The volume may need to be increased. The gutterglass page has further notes on the work.
This period explored the following principal research aims:
The research and compositional process gave the building blocks for the rest of the masters program, on how the senses interact, the sorts of sounds I could create with building materials, and the sort of vibration territory that worked most naturally. I also felt I was tying in most comprehensively to the original research aims.
During this time I had to tackle head on a unique compositional challenge bought about from making vibro-acoustic work. The table acted as a vibration instrument primarily – something experienced by sitting or lying on its surface. But I wanted to combine this experience with the sound of vibrating building materials, which were ‘activated’ by placing them on the table surface. This meant that when generating sound (to be recorded and played back through loudspeakers later, concurrently with the direct vibration), I couldn’t experience the sensation element of the work.
I had to imagine the role one sense would play, while working on the other element of the work. This challenge opened up my thinking around the interaction between the senses, and also pushed me to design software and develop technique to best facilitate building of these elements in a sort of ‘multi-track’ arrangement.
This package of thinking and development formed a foundation for the rest of my compositional research, as it asked questions around the role vibration might play within the narrative of a vibro-acosutic work, and whether the acoustic or vibration element should ‘lead’ the structuring of a composition.
My other findings were largely about strengthening and applying my earlier findings in creation of a work, and honing in on compositional approaches which seemed most successful and enjoyable for both sensation and hearing.
Research detail subpage: 3.1 - Tactile system as an instrument - composing for the body, and generating sound